{"title":"Bill Orcutt","description":null,"products":[{"product_id":"made-out-of-sound-2","title":"Made Out of Sound","description":"\u003cp\u003eSadly, many will hear Chris Corsano and Bill Orcutt’s latest LP, \u003ci\u003eMade Out of Sound\u003c\/i\u003e, as “not-jazz,” though it would be more aptly described as “not-not-jazz.” In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn’s late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley’s Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo — but if you’ve been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt’s style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record “jazz” (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many “mere” improv records to transcendence, but here he’s crafted his polyrhythms within more narrative channels, bringing to mind his “mannered” playing in the lamented Flower- Corsano duo. It's not “groove” playing precisely, but it follows many grooves simultaneously, much like Orcutt’s own melodic musings — which is why they’re so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), “I didn’t edit them at all. I overdubbed two guitar tracks, panned left\/right. I’d listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the ‘lead’, though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.” Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in “Man Carrying Thing,” but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with “How to Cook a Wolf,” its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore. Much like Orcutt’s last solo album, Odds Against Tomorrow, there’s a gentler, almost pastoral flow to some tracks (“Some Tennessee Jar,” “A Port in Air,” “Thirteen Ways of Looking”) that calls to mind the mixolydian swamplands of Lonnie Liston Smith — but unlike Odds, other tracks (“The Thing Itself”) smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise\/improv pigeonhole lazy listeners\/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room — we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon\u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"Black LP","offer_id":50480099426635,"sku":"2217244","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":51183123923275,"sku":"2242264","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Made_Out_of_Sound_eb1004de_thumbnail_4096.jpg?v=1727516346"},{"product_id":"music-for-four-guitars-2","title":"Music For Four Guitars","description":"\u003cp\u003e\"In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked—or, as Orcutt puts it, 'a bridge pickup rather than a neck pickup record'—it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes)...\"—Tom Carter\u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"Black LP","offer_id":50480104407371,"sku":"2217212","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":51183124578635,"sku":"2242263","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Music_for_Four_Guitars_776b6837_thumbnail_4096.jpg?v=1727516391"},{"product_id":"hauslive-4","title":"HausLive 4","description":"\u003cp\u003eHausu Mountain continues the \u003cem\u003eHausLive\u003c\/em\u003e series of live show recordings that capture some of the headiest moments in Chicago underground music. On \u003cem\u003eHausLive 4\u003c\/em\u003e, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHausLive 4\u003c\/em\u003e catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album \u003cem\u003eMusic for Four Guitars\u003c\/em\u003e (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.\u003c\/p\u003e","brand":"Hausu Mountain","offers":[{"title":"Tape | 1st Edition","offer_id":51445850964299,"sku":"R0633-9980","price":13.99,"currency_code":"GBP","in_stock":false},{"title":"Tape | 2nd Edition","offer_id":51931182432587,"sku":"R0633-0914","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed-2025-03-14T102220.990.jpg?v=1741947747"},{"product_id":"odds-against-tomorrow","title":"Odds Against Tomorrow","description":"\u003cp\u003e\"After two LPs and over half a decade spent toiling in the margins of the American Songbook, Bill Orcutt returns to original composition and the blues with his latest LP, Odds Against Tomorrow. Taking its title from Robert Wise’s 1959 film noir, Odds Against Tomorrow retrofits familiar folk\/blues forms to the unique sound of Orcutt’s guitar and the result crackles with a freshness and authority that nostalgic retreads cannot deliver. Odds Against Tomorrow is more than an expansion of the territory charted by Bill Orcutt, his eponymous 2017 studio electric debut, although it’s certainly that. With its nods to existing musics, half- step fluctuations, and near-songwriterly manipulations of tension\/release, Odds Against Tomorrow is a rock record — almost. Clearly and simply recorded through a clattering Fender Twin in Orcutt’s living room and lovingly mixed by Bay Area neighbor and pedal-steel savant Chuck Johnson, no one would mistake it for any era’s radio fodder, yet the precision of its technique and the swaying Child-ballad logic of its gentler improvisations comfortably seats it between John Mayall and Richard Thompson in your Ikea Kallax. Three songs (“Odds Against Tomorrow,” “The Writhing Jar,” “Already Old”) are multi-tracked, an innovation that, for guitar buffs familiar with Orcutt’s stripped-down vernacular, jumps out of the grooves like a Les Paul sound-on-sound excursion in 1948, or a Jandek blues rave-up in 1987. Specifically evoking John Lee Hooker’s double-track experiments on 1952’s “Walking the Boogie,” the steady chord vamps of “Odds Against Tomorrow” and “Already Old” form a harmonic turf on which Orcutt solos with lyrical abandon — and while his playing has always earned begrudging respect from any hardened shredders willing to pluck the foam out of their ear canals, even the most strident neck- strangler will steam over his lubricated runs. For the more “contemporary-minded,” “The Writhing Jar”’s crashing overdubs recall the brassy six-string voicings of This Heat or Illitch. With the exception of the unreconstructed Elmore James-isms of “Stray Dog” and the “Layla”-finale-like haze of “All Your Buried Corpses Begin To Speak,” the remaining non-overdubbed tracks dovetail snugly with Orcutt’s previous solo output, reeling gently in a Mazzacane-oid mode (“The Sun and its Horizon,” “The Conversion Experience,” “Judith Reconsidered,” “Man Dies”) or vibing up the standards (“Moon River”). On their own, these tracks would still be an important contribution to Orcutt’s canon. As part of Odds Against Tomorrow’s greater whole, they provide a through line, connecting the idiosyncrasies of Orcutt’s past explorations with the scrambled tropes of his present work. Odds Against Tomorrow challenges contemporary solo guitar practice in a way that simultaneously nullifies hazy dreams of folk purity and establishes a new high-water mark for blues-rock reconstruction. Put simply, in our current era of mannered revisionism, it is a joy to listen to.\" — TOM CARTER \u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"LP - Black","offer_id":51794222186827,"sku":"R8648-7546","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_7.jpg?v=1746798426"},{"product_id":"the-four-louies","title":"The Four Louies","description":"\u003cp\u003eIn 1957, R\u0026amp;B singer Richard Berry scrawled a few crude stanzas on a strip of toilet paper, and chant-sung them in fake patois over a shuffling rhythm to capitalize on the Latin craze tearing up the charts. \"Louie Louie\" didn't make much of a dent in the national consciousness in its first iteration, but when Berry and the Pharaohs took the song on the road up and down the West Coast, it became something of a regional sensation. In 1962, the Kingsmen carved their mush-mouthed, barely-pubescent first take of the nascent standard into acetate. The resulting 45 was a mega-hit (although Berry remained a pauper until legal wrangling finally made him rich shortly before his death in 1997). No one could quite decipher the words, so grown-ups assumed the worst, and the resulting hysteria culminated in an FBI obscenity investigation and trial (\"Unintelligible at any speed,\" concluded the judge). The countless cover versions that followed the original hit mangled the song's blurry text into guesstimated verse with varying shades of angst and filthiness. Less than a decade later, Steve Reich's Four Organs (built from a stacked dominant-11th chord with wayward pitches gradually trickling out either side like pancake syrup) made its concert debut. Its introductory staccato fanfare poleaxed unsuspecting uptown highbrows in an almost rockist fashion, and while the piece was tolerated by the art mob, Reich's work didn't fare so well in uptown concert halls. At a Carnegie Hall performance in 1971, one listener repeatedly slammed her head into the stage, shouting \"Stop, stop, I confess!\" Nonetheless, the work's relentless progression, melting into Farfisa dreamscapes, would eventually inspire some of the most palatable manifestations of American minimalism. Bill Orcutt's latest release for Fake Estates, his ongoing opus of obsessive rearrangement, seamlessly melds these audio landmarks. Fittingly, Reich described Four Organs as \"the longest V–I cadence in the history of Western Music,\" and as such, it neatly envelops all of Louie Louie within its single chord. Intuiting this, Orcutt deftly overlays the opening salvos of these sonic cognates into a zig-zagging 4\/4 cadence, which unfolds over side one with an incongruously conventional rock dynamic structure. The Four Organs' sustained organ threads suggest Louie Louie's vocal line, whether by accident or Orcutt's design. Organ drones dominate Side 2, with Louie Louie forced into counterpoint. We can hear just how out of tune the Kingsmen were, unsalvageable by any pitch correction software, with that damned maraca inexplicably sliding into a pulsing but syncopated 6-beat bar ending with the door-slam finality of the original Kingsmen 45. Taken together, Louie Louie and The Four Organs represent key signposts in musical evolution: proto-punk, proto new age; reviled by the squares, yet efficacious in blowing forward-looking minds. In 2025, Orcutt has reinvigorated both well-worn standards with some of their old mojo, and their novel, pulsing setting provides a whiff of what made them revolutionary in the first place.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Fake Estates","offers":[{"title":"LP - Black","offer_id":51794224152907,"sku":"R7504-8070","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_8.jpg?v=1746798548"},{"product_id":"the-anxiety-of-symmetry","title":"The Anxiety of Symmetry","description":"\u003cp\u003e2025 repress. \"Bill Orcutt’s latest 'counting' album, The Anxiety of Symmetry, completes a trilogy on his Fake Estates label that started with Pure Genius (2020) and A Mechanical Joey (2021), all realized with his own Cracked computer music software. Comprising two 15-minute-long improvisations, the album’s terrain is limited to six samples of female voices singing the number of the corresponding note value in the first six pitches of a major scale. These are fashioned into compact phrases (1-2, 1-2-3, 1-2-3-4, etc.) that are looped and layered. As the loops combine in multiple permutations and cycles, their uneven lengths create polyrhythms and syncopations as well as harmonies. On the surface, Anxiety is unusually placid for Orcutt, reminiscent of Minimal classics like the 'Knee Plays' of Phillip Glass’ Einstein on the Beach (which also features sung numbers, although without the one-to-one relationship between pitch and interval number) and the breathy soprano voice loops in '2\/1' from Brian Eno’s Music for Airports. However, the album’s title is adapted from Orcutt’s essay of the same name in the Spectres III anthology about a compulsive behavioral condition known as 'Just Right' and its parallels and possible applications to music, which suggests that this titular music’s inspiration is not trance- inducement, but rather a kind of mental obsession with ordering and re-ordering. In the essay, Orcutt posits that 'for the ‘Just Right’ subject composing or performing with the computer, the fixation with repetition, symmetry and arrangement in sound can be mediated with software, creating new prospects for both therapeutic engagement with their compulsions and the creation of music with a length, density and scale not possible without machines... Offloading one’s 'Just Right' auditory compulsions onto the computer fulfills the promise of automatic art, allowing the full expression of the subconscious by removing the need to focus on anything but the arrangement and rearrangement of elements, and the sounds themselves become merely a byproduct of the process of satisfying these feelings.' The Anxiety of Symmetry might then be comparable to artist Hanne Darboven’s quasi-Minimal compositions and their basis in odd mathematical calculations derived from the calendar, in taking its cue from an extra-musical process. The two pieces’ polyphony is not far off from Orcutt’s recent Music for Four Guitars, but also marks Anxiety as a departure from both Pure Genius and A Mechanical Joey. The latter bypassed melody and harmony altogether; its relentless, phantasmagorical looping and subdivisions of Joey Ramone’s trademark onstage count-offs could be seen as a wry comment on the repetitions within repetitions of rock songs and their ongoing performances, or simply the monomania of years of touring for months on end. Pure Genius presented a male and female voice stolidly reciting the numbers that correspond to the notes of a scale that are simultaneously generated with sine tones (i.e., when a voice says 'one,' the first note of a scale is heard at the same time); Anxiety collapses Pure Genius’ juxtaposition of pitch and counting by having the numbers sung. Stripped down yet excessive (in the tradition of his other works with Cracked), Anxiety seems less like its predecessors’ deconstructions than a new kind of subversive easy listening.\"— Alan Licht\u003c\/p\u003e","brand":"Fake Estates","offers":[{"title":"LP - Black","offer_id":51794229952843,"sku":"R3740-1037","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_9.jpg?v=1746798744"},{"product_id":"a-mechanical-joey","title":"A Mechanical Joey","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eBill Orcutt is of course famous for his bluesy free improv acoustic guitar playing, which he has been performing since he re-emerged with the 2009 solo album \u003cem\u003eA New Way To Pay Old Debts\u003c\/em\u003e, 12 years after the dissolution of his seminal noise rock band Harry Pussy. He has also held down day jobs as a software engineer at various Silicon Valley companies for the last two decades. Apart from certain errant excursions such as Harry Pussy’s final album \u003cem\u003eLet’s Build A Pussy\u003c\/em\u003e, which consists of Orcutt timestretching a second of the voice of Harry Pussy drummer Adris Hoyos into an hour, and notwithstanding the fact that since 2011 his albums have been released by electronic music label Editions Mego, there was previously a marked divergence between the computers of Orcutt’s career and the eschewal of digital manipulation in the uncompromisingly visceral playing of his vocation, in which the pluck of every string is palpable. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis changed in 2016, when he released the avowedly primitive open source live coding audio program Cracked, which consists only of a window in which commands are typed. Since then, Orcutt has been intermittently releasing music made with the app on his DIY label Fake Estates, \u003cem\u003eA Mechanical Joey\u003c\/em\u003e being the latest. Its two sides comprise one continuous track, lasting 35 minutes in total, during which Orcutt creates the illusion that a sample of Joey Ramone counting in a song accompanied by drumbeats is moving forwards and backwards in space. It is a sequel of sorts to last year’s Pure Genius, another release by Orcutt made on Cracked, which consists of various computer generated voices counting, accompanied by bleeps ascending the chromatic scale. The blurb for that record claims that it was borne of the fact that 'while stuck out on the left coast surrounded by braying tech bros,' Orcutt 'realized that we, the plebs, will eventually be here only to serve the machines'. But perhaps the return of the human voice on \u003cem\u003eA Mechanical Joey\u003c\/em\u003e is his indication that we might be able to resist after all.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fake Estates","offers":[{"title":"LP - Black","offer_id":51828589429067,"sku":"R7619-9543","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a1742980323_16.jpg?v=1747411756"},{"product_id":"another-perfect-day-1","title":"Another Perfect Day","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003eAnother Perfect Day\u003c\/em\u003e is Bill Orcutt's first solo electric guitar record since 2017’s eponymous \u003cem\u003eBill Orcutt.\u003c\/em\u003e While that eight-year gap might not seem like a ton of time on the cosmic scale, it nonetheless represents a busy half-decade plus for Orcutt projects: a raft of improv collaborations, an acclaimed run of chopped and looped albums on Fake Estates, and the collision of Orcutt's computer and guitar music on \u003cem\u003eMusic For Four Guitars \u003c\/em\u003eand last year's How to Rescue Things, both on Palilalia. The undeniable alchemy of those latter mashups inspired not only a wider appreciation of Orcutt-as-composer, but also the resurrection of Orcutt-as-bandleader, as the Bill Orcutt Quartet hit the road in support of Four Guitars, Orcutt's first work with a proper score (courtesy of Shane Parrish).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll of the above makes 2025 the perfect year to reacquaint ourselves with Orcutt-as-solo-performer, wielding his trademark four-string rather than a mouse, running the neck rather than shuffling waveforms, blasting through Cafe Oto's tattered Fender Twin (the cover model for the aforementioned How to Rescue Things) rather than a pair of ancient NS-10s. Indeed, this 2023 performance at Oto, East London's finest music establishment, boomerangs back into the slashing chords and frenzied double- picking of the Harry Pussy years, tossing the gentler melodic glow of the last few solo records into the dustbin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn other words, this may be Orcutt's most overtly punk-rockist record since Gerty Loves Pussy, his first solo electric LP from a decade ago. It's an affirmation that Orcutt is above all a lead player—angular runs scaling the heavens, ricocheting back to ground zero before climbing again. Orcutt builds tension with short phrases, repeated with slight variability until it seems like they’ll never stop, finally slamming into a fresh line like the dawning valley at the crest of the mountain pass.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eAnother Perfect Day\u003c\/em\u003e is, ultimately, something of a solo guitar Nouveau Roman, an exhilarating run through melodic reiteration, impossible crescendos (check out those ecstatic crowd hoots on \"For the Drainers\") breaking into—a moment rarely found on an Orcutt record—soft, whisper-quiet tracer notes at the end of \"A Natural Death.\" Another Perfect Day returns Orcutt to the immediacy of his earliest records while maintaining the melodic complexity, phrasing, and flow of a player, who's been going, what—four-plus decades now? And when he taps his roots, it's a reminder of exactly what was so exciting about Orcutt's playing in the first place.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"LP - Black","offer_id":53543710294347,"sku":"R8488-9946","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":53543710327115,"sku":"R8488-8565","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a1069427903_16.jpg?v=1759757550"},{"product_id":"music-in-continuous-motion","title":"Music in Continuous Motion","description":"\u003cp\u003e\u003cem\u003eMusic in Continuous Motion\u003c\/em\u003e, Bill Orcutt’s latest entry into his 21st-century repertoire of quartet guitar music, pointedly steps away from the cut-and-paste constructivism of Music for Four Guitars into a sonic stratum that's yearningly melodic, resolutely human, and built for performance. Conceived for a 2026 NYC concert, \u003cem\u003eMusic in Continuous Motion\u003c\/em\u003e shares the concision of its predecessor—but rather than the discrete, mechanistic precision of Music for Four Guitars, the tracks on \u003cem\u003eMusic in Continuous Motion\u003c\/em\u003e unify—each song weaving four gleaming threads into the warp and weft of an evolving, complex texture that employs simple, repeating motifs to build new melodies from counterpoint itself. It accomplishes this in the most efficient manner possible: most of these 12 tracks hover around two-and-a- half minutes, each iterating first the substrate, then the melody and its variations, then slamming shut like a clockwork music box.\u003c\/p\u003e\n\u003cp\u003eBased on previous recorded evidence, Orcutt is fond of boundary conditions for his studio guitar records. Much of the time, his launchpad is obvious (The Four Louies, How to Rescue Things); with others, it’s intentionally obscured. When recruiting me to write about each release, he might send me a clue (“This is a bridge pickup record more than a neck pickup record,” Orcutt helpfully offered for Music for Four Guitars). Although any given dispatch is a potential red herring, up until now, each has implied an Oulipian conceit (however obtuse) that at least somewhat determines the outcome. Thus, I was a bit surprised by his statement on \u003cem\u003eMusic in Continuous Motion\u003c\/em\u003e—“The mystery of how [the] same person, same process, same gear produces different results.\" When pressed, he elaborated that the record features “no triplets,” something I’ve yet to count out to determine for myself.\u003c\/p\u003e\n\u003cp\u003eWhatever overarching form the recording process may have mapped out, the path of the finished album is explicitly poetic. Echoing its predecessor, the song titles, read in sequence, paint fleetingly-glimpsed forms—but in contrast to the distant shapes described in Music For Four Guitars, the present narrative spotlights the dance of polygons momentarily grasped (and then lost) as they spin through space: “Because sharp also smooth,” “And warm to the touch,” “Now nearly gone,” “Yet always moving,” “Impossible to reach.” Ultimately, the key difference between the albums (and what places \u003cem\u003eMusic in Continuous Motion\u003c\/em\u003e in the realm of poetry) is its celebration of movement over immutability, of melody over form, of music as a hot wire to the heart rather than another upped ante in an arms race of inscrutability.—Tom Carter\u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"LP - Black","offer_id":56504200921419,"sku":"R9257-8197","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":56504200954187,"sku":"R9257-1590","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed-2026-02-12T120134.357.jpg?v=1770897700"}],"url":"https:\/\/shop.roughtrade.com\/collections\/bill-orcutt.oembed","provider":"Rough Trade","version":"1.0","type":"link"}